mudzanire2016

Mudzanire, Benjamin: An Interrogation of the Context Referentiality of Postcolonial Shona Popular Music in Zimbabwe: A Search for the Contemporary Leitmotifs. Ph.D. University of South Africa (Pretoria), 2016. xii & 380 p.

CONTENTS

Declaration i
Dedication ii
Acknowledgements iii
Abstract iv
Key words v
List of tables xii

Chapter 1
Introduction 1
1.0 Preamble 1
1.1 Background 2
  1.1.1 Pre-colonial Shona music and social context 2
  1.1.2 Shona music during the colonial period 6
  1.1.3 The postcolonial period 10
1.2 Towards a working definition of popular music 11
1.3 Statement of problem 12
1.4 Aim of the research 13
  1.4.1 Objectives 13
  1.4.2 Research questions 14
1.5 Justification 14
1.6 Key words 17
1.7 Scope of study 18
1.8 Conclusion 19

Chapter 2
Literature review 21
2.0 Introduction 21
2.1 The nature of music 21
  2.1.1 Music as communication 25
  2.2.0 Language and music 28
  2.2.1 Music as literature 29
2.3 The use of figurative language in music 32
2.4 Music appreciation 34
2.5 The role of music in society 36
  2.5.1 Global trends in music and socio-political context 37
  2.5.2 Regional trends in music and socio-political context 42
2.6 Music in colonial Zimbabwe 46
2.7 Postcolonial music literature in Zimbabwe 48
2.8 Music censorship and freedom of expression 52
  2.8.1 Freedom of expression 53
  2.8.2 Music censorship 54
  2.8.3 Agents of music censorship 60
2.9 Conclusion 63

Chapter 3
Theoretical framework 64
3.0 Introduction 64
3.1 The sociological approach 65
  3.1.1 New historicism 67
  3.1.2 Marxism and popular music 75
  3.1.3 Afrocentricity 78
  3.1.4 Africana womanism 81
3.2 Conclusion 84

Chapter 4
Research methodology 85
4.0 Introduction 85
4.1 The qualitative research paradigm 85
  4.1.1 Research design 87
  4.1.2 Hermeneutics 88
    4.1.2.1 Characteristics of hermeneutics 89
    4.1.2.2 Basic hermeneutic questions and authorial 
                assumptions 99
    4.1.2.2.1 Precautionary authorial assumptions 99
    4.1.2.3 Hermeneutics and qualitative research 105
  4.1.3 Data gathering techniques 106
    4.1.3.1 Interviews 106
    4.1.3.1.1 Advantages of interviews 107
    4.1.3.1.2 A cautionary note on interviews 108
    4.1.3.2 Document analysis 109
    4.1.3.2.1 Merits 110
    4.1.3.2.2 Cautionary points 111
    4.1.3.3 Choosing research subjects 111
    4.1.3.3.1 Judge mental sampling method 111
    4.1.3.3.1.1 Advantages of purposive sampling 112
    4.1.3.3.1.2 Cautionary points 113
    4.1.3.3.2 Sampling of music critics 113
    4.1.3.3.3 Sampling of music 113
    4.1.3.3.4 Sampling of music consumers 113
    4.1.3.4 Transcription of music 114
    4.1.3.5 Translation of music 114
  4.1.4 Data presentation and analysis 115
  4.1.5 Ethical considerations 116
4.2 Conclusion 118

Chapter 5
Legal and political motifs 119
5.0 Introduction 119
5.1 Analysis of legal documents 120
  5.1.1 Legislation 120
    5.1.1.1 Freedom of expression 120
    5.1.1.2 The Censorship and Entertainments 
                Control Act [Chapter 10:04] 123
    5.1.1.3 Broadcasting Services Act 128
    5.1.1.4 The 75% Local Content regulation 130
5.2 Analysis of songs with a political motif 132
  5.2.1 Independence euphoria 133
  5.2.2 War memories 140
  5.2.3 The call for unity 144
  5.2.4 Exploitation of the subaltern 151
  5.2.5 The land question 160
  5.2.6 Corruption 171
  5.2.7 Political violence 176
  5.2.8 Political polarisation 187
5.3 Analysis of Interviews 194
  5.3.1 Profile of interviewees 195
  5.3.2 Interviewee responses 197
    5.3.2.1 Freedom of expression 197
    5.3.2.2 Censorship 201
    5.3.2.3 Reflections on independence 206
    5.3.2.4 War memories 209
    5.3.2.5 National unity 210
  5.3.6 Exploitation of the subaltern 211
  5.3.7 Politcal party music 212
5.3 Conclusion 213

Chapter 6
Socio-economic leitmotifs in Shona music 215
6.0 Introduction 215
6.1 Analysis of songs with a socio-economic motif 215
  6.1.1 Culture 215
  6.1.2 The concept of unhu/ubuntu 223
  6.1.3 Romantic expressions 227
  6.1.4 Domestic violence 234
  6.1.5 Divorce 241
  6.1.6 The HIV/AIDS conundrum 245
  6.1.7 Gender issues 251
  6.1.8 Poverty 262
  6.1.9 Escaping home:
           Diasporan discourses in popular music 270
6.2 Analysis of Interviews 279
  6.2.1 Music and culture 280
  6.2.2 Marriage and family issues 282
  6.2.3 Romantic expressions 284
  6.2.4 Gender 286
  6.2.5 Economic issues 288
  6.2.6 Diasporan discourses 290
6.3 Conclusion 294

Chapter 7
Discussion 295
7.0 Introduction 295
7.1 The creative environment of music 295
  7.1.1 The escape route 300
7. 2 Political motifs 302
  7.2.1 Sustaining nationalist meta-narratives 302
    7.2.1.1 Immediate post-independence reflections 303
  7.2.2 Counter-narrating the vision of the state 307
    7.2.2.1 Land 308
    7.2.2.2 Corruption 309
    7.2.2.3 Political violence 310
    7.2.2.4 Political polarisation 312
7.3 Socio-economic issues 313
  7.3.1 Culture 314
  7.3.2 Romantic expressions 315
  7.3.3 Domestic violence and divorce 317
  7.3.4 The HIV and AIDS pandemic 319
  7.3.5 Gender 320
  7.3.6 Poverty 323
  7.3.7 Escaping home: diasporan discourses in popular music 326
7.4 Conclusion 328

Chapter 8
Conclusion 329
8.0 Introduction 329
8.1 Research findings 329
8.2 Recommendations of the study 335

References 337

Appendices 373
Appendix A: Music critics 373
Appendix B: Artiste Interview 374
Appendix C: Interview guide: music listeners 375
Appendix D: Interviews with diasporans 377
Appendix E: Curriculum Vitae for Mudzanire Benjamin 378